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Martin Tomitsch - Non-human personas and other UX tools for a post-pandemic world

uxaustralia
August 24, 2021

Martin Tomitsch - Non-human personas and other UX tools for a post-pandemic world

UX Australia 2021 DAY 1

We urgently need to rethink the role of human-centred design in light of global events that are linked to the Anthropocene, such as extreme weather and the Covid-19 pandemic.

When designing physical products, there is a very tangible impact on the environment. But how are digital platforms affecting our ecosystems? And what can we as UX designers do to do our share in ensuring we sustain the health of our planet when designing digital products?

The talk provides answers to these questions and a call to action, equipping UX designers with the tools to include more-than-human perspectives and to think about the far-reaching impact of our design decisions. Who has created a persona for the coronavirus, which many of us would have had to consider as a stakeholder in the past year? There’s your first non-human persona!

Join this talk to learn how to use more-than-human design thinking in your next project.

uxaustralia

August 24, 2021
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  1. Non-human personas and other UX tools for a post-pandemic world

    (he/him) @martintom #UXA2021 Martin Tomitsch
  2. UX

  3. … the world is working exactly 
 as designed. And

    it’s not working very well. Which means we need to do a better job of designing it. 
 —Mike Monteiro “
  4. The Australian wildfires and COVID-19 were a 
 “wake-up call”

    … infectious diseases that come from animals are a sign of an “unhealthy planet” Source: https://www.globalcitizen.org/en/content/shocking-facts-david-attenborough-netflix-film/| Photo courtesy of Netflix
  5. 🚙 Your commute to work. 📧 Sending emails. 🚮 What

    you put into the landfill. 😹 Watching funny cat videos. “ Source: https://twitter.com/salesforce/status/1424778561169264655
  6. 🚙 Your commute to work. 📧 Sending emails. 🚮 What

    you put into the landfill. 😹 Watching funny cat videos. Believe it or not, *all* of these things have an impact on the environment. “ Source: https://twitter.com/salesforce/status/1424778561169264655
  7. 💻 Digital consumption: 3.7% of global greenhouse emissions ✈ Aviation:

    2.4% Source: https://www.bbc.com/future/article/20200305-why-your-internet-habits-are-not-as-clean-as-you-think 60% goes into streaming of videos
  8. If every adult in the UK sent one less ‘thank

    you’ email, it could save 16,433 tonnes of carbon a year – the equivalent to taking 3,334 diesel cars off the road. Source: https://www.bbc.com/future/article/20200305-why-your-internet-habits-are-not-as-clean-as-you-think “
  9. Human values (usability, desirability) Business (viability) Technology (feasibility) Responsible innovation

    Environmental and ethical values (responsibility) “… replacing what is viable in the business sense with what is responsible in the moral sense.” Forlano (2016), Tatum (2004)
  10. @IN T ER ACT IONSM AG 60 IN T ER

    ACT IONS M AY JUNE 2019 In this forum we highlight innovative thought, design, and research in the area of interaction design and sustainability, illustrating the diversity of approaches across HCI communities. — Roy Bendor, Editor FORUM SUSTAINABILIT Y IN (INTER)ACTION More-Than-Human Participation: Design for Sustainable Smart City Futures ENCOUNTERING MORE THAN HUMAN WORLDS In the age of the Anthropocene—the most recent geological era, in which human activity is transforming Earth systems, accelerating climate change, and causing mass extinctions—a human-centered perspective of cities is increasingly seen as untenable [3]. In elds such as science and technology studies (STS), environmental humanities, geography, planning, ne art, design, and HCI, scholars are challenging traditional binaries such as culture/nature and human/non-human, to consider the entanglements between human and non-human worlds, including “things, objects, other animals, living beings, organisms, physical forces, spiritual entities” [4] in urban contexts. For instance, projects such as Mitigation of Shock, a speculative design project by Super ux design studio, interrogates food scarcity in 2050 through an installation of a reconstructed apartment in London. Where there was once a lounge, a large food lab now dominates, made from recycled and salvaged electronics and everyday homeware. While exploring how food shortages prompted by climate change could be reimagined through alternative domestic food production, Anab Jain has described how a more meaningful codependent relationship emerged with the plants [5]: The project gave birth to new relationships, as we moved from just making things, to making things that grew.… We saw how roots were born, how they were formed and grew into these delicate ecologies, how they transformed Out of necessity or choice, people and wildlife are increasingly living side by side in urban environments. As more species live together in cities, significant environmental challenges associated with high-density living, poor resource management, habitat loss, and pollution arise. These conditions can be toxic for humans and non- humans alike. One response has been to make cities “smart” using networked sensing and cloud and mobile computing to optimize, control, and regulate urban processes. Smart initiatives are often presented as a social and environmental good. An accompanying agenda, however, has been to spur on sales of novel technology, with its attendant bene ts for a small number of companies and their employees. In other words, smart cities are often positioned as solving environmental problems through technologically driven, human-centered, and solution- optimizing approaches that promise great bene t—but include a number of faulty premises. While many governments are developing participatory approaches to sustainability challenges, the focus remains largely human centered. Such approaches are often too simplistic to address the complexities of long-term environmental sustainability. They also fail to acknowledge how human and non-human lives—or the “more than human”—are inseparable, and how we all participate in urban life [1]. Without care, smart city agendas may exacerbate the very problems they seek to solve. What will it take to create a real shift in the mindsets of those responsible for smart city design, for those people to take a more-than- human participatory perspective? What can we, as designers and educators, do to respond to the environmental challenges our future cities face? In this article, we propose an alternative smart city agenda for the interaction design community in responding to a more-than-human perspective. To help us explore and imagine what this agenda could be like, we illustrate our discussion with examples shared as part of an interdisciplinary workshop at the 2018 Participatory Design Conference in Hasselt, Belgium [2]. Insights → Smart city agendas remain focused on human-centered approaches despite the diversity of species in urban areas. → To broaden participation for sustainability in smart city design, a more-than- human perspective should be adopted. → Supporting future research and practice requires consolidating existing approaches, engendering sensitivities to multiple species’ timescales and knowledges, and investing in interdisciplinary pedagogy. Rachel Clarke, Northumbria University, Sara Heitlinger, City, University of London, Ann Light, University of Sussex, Laura Forlano, Illinois Institute of Technology, Marcus Foth, Queensland University of Technology, Carl DiSalvo, Georgia Institute of Technology DesignIssues: Volume 32, Number 3 Summer 2016 42 © 2016 Massachusetts Institute of Technology Decentering the Human in the Design of Collaborative Cities Laura Forlano Cities around the world are currently rushing to build sensor net- works capable of tracking pollution and crime; connect their traffic lights, street lamps, garbage cans, and parking meters to the Inter- net; and reform industrial innovation regions into postindustrial hubs for digital design and fabrication. The networked character of the socio-technical landscape has forced collisions between the city, its infrastructure, and its citizens. Of course, these efforts are rife with technological determinism and Silicon Valley buzzwords such as “smart cities,” the “Internet of things,” and 3D printing, but they also signify new terrain for the practice of civically engaged, tech-savvy designers. For example, the street furniture, fixtures, casings, and interfaces for these networked and interac- tive infrastructures must be aesthetically (and politically) designed to suit the city and the surrounding urban environment. More important, designers can play a role in mediating between the top- down plans of government officials and their corporate suitors and the bottom-up actions of citizens and civic technologists. In this sense, we might consider design as a hybrid and liminal practice— one that occupies “a position at, or on both sides of, a boundary or threshold.”1 Increasingly, designers must operate simultaneously at multiple scales (such as the urban, architecture and the built environment, objects, things and bodies) and often contradictory perspectives (including human as well as nonhuman stakehold- ers)—to remake the collaborative, peer-produced, open-source city.2 This article extends previous arguments about decenter- ing the human and nonanthropocentric design to think through ways designers can evolve existing human-centered design (HCD) methodologies to contend with socio-technical complex- ity—such as economic and ecological crisis—and create more responsible, accountable, and ethical ways of engaging with emerging technologies.3 Designers are increasingly engaged in projects that go beyond crafting individual graphics or products and toward the design of services, organizations, systems, platforms, and experiences. As designers take on these roles, they are engaged in the active creation and curation of complex socio-technical net- works, constituencies, and alliances that come together around 1 See Oxford Dictionaries online, http:// www.oxforddictionaries.com/definition/ english/liminal (accessed June 22, 2015). 2 Laura Forlano, “Work and the Open Source City,” Urban Omnibus (June 3, 2009), http://urbanomnibus.net/2009/06/ work-and-the-open-source-city/; Laura Forlano, “Building the Open Source City: New Work Environments for Collabora- tion and Innovation,” in From Social Butterfly to Engaged Citizen, Marcus Foth et al., eds. (Cambridge, MA: MIT Press, 2011). 3 Carl DiSalvo and Jonathan Lukens, “Seeing the City through Machines: Non-Anthropocentric Design and Youth Robotics,” in Digital Cities 6: Concepts, Methods and Systems of Urban Informat- ics, Marcus Foth, Laura Forlano, and Hiromitsu Hattori, eds. (State College: Penn State University Press, 2009); Carl DiSalvo and Jonathan Lukens, “Nonath- ropocentrism and the Nonhuman in Design: Possibilities for Designing New Forms of Engagement with and through Technology,” in From Social Butterfly to Engaged Citizen: Urban Informatics, Social Media, Ubiquitous Computing, and Mobile Technology to Support Citizen Engagement, Marcus Foth et al., eds. (Cambridge, MA: MIT Press, 2011). doi: 10.1162/DESI_a_00398
  11. Source: Kirsten Moegerlein's PhD thesis 'Designing in Transition: Towards Intimacy

    in Ecological Uncertainty’ (via Kimberley Crofts on Twitter)
  12. Based on: Gibson, R. (2001), Specification of Sustainability-Based Environmental Assessment

    Decision Criteria and Implications for Determining ‘Significance’ in Environmental Assessment”, https://static.twoday.net/NE1BOKU0607/files/Gibson_Sustainability-EA.pdf
  13. dition Design. Think. Make. Break. Repeat. A Handbook of Methods

    Design. Think. Make. Break. Repeat. A Handbook of Methods “Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis” - Quote author This book introduces the reader to the changing role of design as a way of thinking and a framework for solving complex problems and achieving systemic change. It documents 80 methods that cover all stages of a design process, providing actionable guidance for applying the methods across a range of projects. The methods are complemented by seven case studies to demonstrate their application in different domains, from designing interfaces for autonomous vehicles to addressing health and wellbeing. Free templates and resources, available at designthinkmakebreakrepeat.com, make this a great resource for design educators as well as practitioners leading workshops in their organisation or looking for inspiration to transform their practice. In this revised edition, the authors look beyond the human-centred design paradigm and provide an introduction to life-centred design. This extended focus is reinforced through design methods for considering the broader ecosystem in which products and services are used, including the use of natural resources, ethical concerns and the long-term impact of design decisions. Design. Think. Make. Break. Repeat. A Handbook of Methods Authors Martin Tomitsch (ed.) Madeleine Borthwick (ed.) Naseem Ahmadpour Clare Cooper Jessica Frawley Leigh-Anne Hepburn A. Baki Kocaballi Lian Loke Claudia Nunez-Pacheco Karla Straker Cara Wrigley 9 789063 695859 ISBN 978-90-636958-5-9 Revised: 20 new methods and an introduction to life-centred design
  14. EXERCISE YOU WILL NEED ACADEMIC RESOURCES: Based on your chosen

    brief, pick a scientific principle or technology and build a fictional world around it. Include an explanation of what it is and how it fits in the world you are creating. Develop the characters in your story and the locations where the action will take place. Record your ideas in the template using notes or bullet points. [10 minutes] Introduce the science or technology into the narrative of your story. This step is called the scientific inflection point. Again, use notes or bullet point form to explore this. [5 minutes] Explore what implications and ramifications your science or technology have on the world you created. Does it affect people’s lives for better or worse? Is there a risk that it might lead to a disaster or even the end of the world as we know it? This step is referred to as the ramifications of the science or technology on people. [10 minutes] With the science or technology now being part of the future scenario, describe what happens next. If there was a disaster, how could it be fixed to save the world? Does the science or technology need to be modified? This step is referred to as the human inflection point. [10 minutes] Develop your outline into a full science fiction story, if you have time to do so. Otherwise use the outline for ideation purposes, in step 6. Reflect on what you learned from creating the outline of your science fiction story. What are possible implications, solutions or lessons learned? What are aspects that could be taken into the current reality and integrated into an envisioned solution that addresses your chosen brief? [10 minutes] Pen, paper In this exercise, you will use the “five steps” template (p.X) to develop a narrative science fiction prototype. Focus on your design problem, or choose the Autonomous Vehicles brief (p.X). Dourish, P., & Bell, G. (2014). Resistance is futile: reading science fiction alongside ubiquitous computing. Personal and Ubiquitous Computing, 18(4), 769-778. Johnson, B. D. (2011). Science fiction prototyping: Designing the future with science fiction. Synthesis Lectures on Computer Science, 3(1), 1-190. Shedroff, N., & Noessel, C. (2012). Make It So: Interaction Design Lessons from Science Fiction. Brooklyn, New York, USA: Rosenfeld Media. Science fiction prototypes are stories placed in the distant future. They allow the fictional exploration of scenarios, in which people interact with envisioned products or services. The narrative of the story is based on real scientific principles and technologies but explores their use in an environment that is free of constraints. The story follows a set structure, which includes identifying the characters, the scientific principle or technology, and so on. Critically, the narrative should include an inflection point, possibly leading to a disaster, as well as an exploration of the implications and how the characters can recover or overcome this disaster. Once a story narrative is developed, it is turned into either a prototype representation of how an envisioned product or service would be used in the future. This is often an essay, comic or movie. However, even the skeleton of the narrative can be a useful artefact in a design process. The science fiction prototype can then be used to reflect on which of its elements could be brought back into the current design situation. The method is used for speculative prototyping as well as ideation – by using elements from the science fiction prototype to inform the design of a solution. Science fiction prototyping is used by tech companies as a way to explore how their technology will be used in future scenarios. For example, Intel uses this method to determine how people will be interacting with semiconductor- based products in the future, which helps them to identify requirements for the development of new semiconductor technology. Science fiction prototypes are also useful to communicate speculative ideas and scenarios within design teams. Science Fiction Prototyping Using the future to improve the now 1 4 5 6 3 2 110 111 Design. Think. Make. Break. Repeat. Science Fiction Prototyping EXERCISE YOU WILL NEED ACADEMIC RESOURCES: Reflect on the user of the product or service you have in mind. If you need a topic, you can use a sample persona (URL) and focus on one of the following: E.g. Getting money out of an ATM E.g. Purchasing concert tickets E.g. Making a cup of coffee [3 minutes] Write down three to five key steps that the user would go through when interacting with the product or service. Plan what ‘shots’ and techniques you could use to illustrate these steps. Shots can include: • Wide shot: showing the surrounding context • Long shot: showing a person with their body fully visible and his/her surrounds • Medium shot: showing a person’s head and shoulders • Over-the-shoulder shot: looking at things “over the shoulder” of a person • Point of view shot: showing things through a person’s eyes • Close-up shot: showing a detailed view of a device or interface [5 minutes] Draw your storyboard in the template. Try to begin with a ‘wide shot’ to establish an impression of where the story begins and to introduce the objects or people that are important. [5 minutes] For each remaining step illustrate what the person would do. You can just use simple symbols and stick figures. Use a variety of shots to show relevant parts of the environment and the interactions between the person and the evaluated product or service. [15 minutes] Add short captions to describe each step. Ideally, every panel should show a single action accompanied by a sentence explaining the action. To improve your storyboard try the following: • Use bold outlines or highlight colours to draw attention to important parts • Use arrows to indicate important directions of movement [5 minutes] Paper, pens, coloured pencil In this exercise, you will create a storyboard documenting an existing situation or demonstrating a new design idea. Use the provided template (p.X) to get started. Greenberg, S., Carpendale, S., Marquardt, N., & Buxton, B. (2011). Sketching user experiences: The workbook. Elsevier. Truong, K. N., Hayes, G. R., & Abowd, G. D. (2006). Storyboarding: an empirical determination of best practices and effective guidelines. In Proceedings of the Designing Interactive systems (pp. 12-21). ACM. Davidoff, S., Lee, M. K., Dey, A. K., & Zimmerman, J. (2007, September). Rapidly exploring application design through speed dating. In International Conference on Ubiquitous Computing (pp. 429-446). Springer Berlin Heidelberg. Storyboards in design are used to visually explore the interactions between people and products or services. They can either represent an existing situation or communicate an envisioned situation. When depicting existing situations, the story should be based on real data, for example, collected through contextual observation (p.X). Storyboards of existing situations are effective for highlighting issues with current experiences. Storyboards of envisioned situations can be used for evaluating early concepts with other team members or prospective users and for communicating concepts to others. Storyboards can be either hand-drawn or digitally composed illustrations that take techniques from film-making and comics. They consist of rectangular frames arranged horizontally or vertically in temporal order to narrate a story. Each frame represents a ‘shot’, similar to the use of storyboards in film. Speech and thought bubbles are used to represent dialogues and thought processes. To keep the story easily accessible, the number of panels should be between three and six. If more panels are needed, they can be included as an additional storyboard. Details in a panel are used to focus the viewer’s attention on the important parts of the scenario such as one of the characters interacting with a product. Descriptions above or below each panel are used to explain the scene within the panel. Time can be indicated either explicitly using a clock or calendar, or through implicit indicators such as a rising sun or contextual dialogues. The characters in the story should be based on user representations, for example in the form of personas (p.X) or extreme characters (p.X). Characters can interact with each other as well as the explored product or service to express emotions and relationships. Using the power of comics to explain concepts Storyboarding 1 3 4 5 2 118 119 Design. Think. Make. Break. Repeat. Storyboarding EXERCISE YOU WILL NEED A pen In this exercise, you will create a user journey map using the template provided (p X). Before you start, you will need a good understanding of the current user experience based on prior research. You can follow the Supermarket of the Future brief (p.X) for this exercise. User Journey Mapping Understanding complex user YOU WILL NEED EXERCISE Smartphone with camera, paper, cardboard, masking tape, post-it notes, pens, optionally: video editing software In this exercise, you will create a 30-second video prototype to convey an idea for a product or service. You will learn how to use techniques to represent the interactions between people and a product or service through video. Video Prototyping Communicating design concepts ACADEMIC RESOURCES: YOU WILL NEED EXERCISE Arrange a workshop with one or more participants. Every participant should have recent experience of the problem domain. e.g. shopping for groceries in the supermarket Ask the participant(s) to use the provided images and materials to express their experiences (URL). They can glue these onto the A0 paper, arranged in such a way that they represent the participant’s routines and relationships. Your participant(s) can also use lines, annotations and sketches to accompany the pictures they have selected. E.g. A line connecting two pictures could represent a relationship E.g. Annotations can be used to clarify the choice of a picture. [25 minutes] Use the resulting map to interview your participant(s). Ask them questions about their activities, the people they interact with, the technologies they use, and the problems they face. Follow up any interesting points that you observed during the map-making. Take notes and/ or record the conversation. Get your participant(s) to take photographs of the environment, objects and technologies they encounter in the problem domain, in the week after the workshop. Print these photos. [1 week] Conduct a second workshop where you ask the same participant(s) to augment their existing map with the photos they took. This will help to improve the representation and understanding of the problem domain. [20 minutes] 1-3 people, A0 and A4 paper, coloured markers, pen, scissors, glue, sticky tape In this exercise, you will employ cartographic mapping to understand the practices of one or more participants, and identify opportunities for design solutions. Choose your own design problem, or focus on the Supermarket of the Future brief (p.X) and use the resources on the companion website (URL). Elovaara, P., & Mörtberg, C. (2010). Cartographic mappings: participative methods. In Proceedings of the 11th Biennial Participatory Design Conference (pp. 171-174). ACM. Finken, S., & Mörtberg, C. (2014). Performing Elderliness–Intra-actions with Digital Domestic Care Technologies. In IFIP International Conference on Human Choice and Computers (pp. 307-319). Springer, Berlin, Heidelberg. Mapping and other methods involving making collages are frequently employed in participatory design workshops to capture and understand domain-specific user knowledge. Cartographic mapping is a mapping method with a particular focus on the mediating role of the map- making activity in mutual knowledge construction. In this method, the facilitator and participant are working together on creating a visualisation of the participant’s daily routines, relationships and settings within a problem domain. A typical cartographic mapping process involves two stages taking place in a workshop setting: 1) making an initial map, and 2) enhancing the map through a participant-performed ethnographic study. In the first stage, workshop participants are asked to create a map of their relationships with other people, devices, and other material objects in their problem domain. A large blank paper, the various cut-out pictures, post-it notes, and colourful markers are provided for the activity. The participants place a picture representing themselves on the paper and then start to map relations with other entities around it. During this process, the workshop facilitator asks questions about the participants’ particular choices of images and the relationships being mapped. In the second stage, the participants are asked to take photographs of the setting relating to the problem domain to capture the details of their work or everyday routines. In a subsequent workshop, the participants add these photographs onto the maps they created in the first workshop to develop a better understanding of the problem domain. In addition to the creation of thick and rich visual representations of people’s daily routines, relationships and settings, the activity of map-making facilitates an informal conversation about the various problems and matters of concern supported by relevant visuals. Cartographic Mapping Generating rich depictions of settings and practices in a problem domain 1 5 6 3 4 2 34 35 Design. Think. Make. Break. Repeat. Cartographic Mapping EXERCISE YOU WILL NEED ACADEMIC RESOURCES: Decide what you want to achieve from the co-design workshop and write it down. E.g. A better way of buying fresh produce [5 minutes] Consider the logistics of your co-design workshop: • What kind of people should be there? E.g. frequent shoppers, avid cooks • How will you record it? E.g. notes, written feedback, observations, video • What is the order of activities and their duration? E.g. immersion, talking about current experiences, describing ideal experiences, evaluating initial concepts. Prepare a script. [20 minutes] Prepare the workshop materials. Use printed images to immerse participants in the problem space. Leverage existing sketches or prototypes of initial concepts or select examples from the resources (URL) for Supermarket of the Future. Identify methods to complete during the workshop such as: • Low-fidelity prototyping • Storyboarding [20 minutes] Prepare key questions for participants to use throughout the workshop. E.g. “What do you currently enjoy / not enjoy about shopping?” E.g. “What would an ideal shopping experience look like for you?” E.g. “What are some features of this design that you like? E.g. “What would you change?” [10 minutes] Run the workshop. Be sure to communicate the purpose and intended outcomes. Explain the purpose of the design, but without being too detailed, as this can limit the creativity of the participants. Introduce each activity as it starts. Allow participants to design concepts and augment existing ideas with their suggestions. Offer templates and frameworks to assist participants with completing the chosen methods. [1-4 hours] After the workshop you can interpret the collected data using a nity diagramming (p.X) or thematic analysis (p.X). Gather the feedback and concepts from co- designers. How does this influence the design concept? 3+ people, pens, paper, an initial concept In this exercise, you will learn how to design and conduct a co-design workshop. You will decide what the purpose of the workshop is, who the participants are, and which methods to use. Focus on your own design problem or the Supermarket of the Future brief (p.X). Sanders, E. B. N. (2002). From user-centered to participatory design approaches. Design and the social sciences: Making connections, 1(8). Steen, M., Manschot, M. A. J., & De Koning, N. (2011). Benefits of co-design in service design projects. International Journal of Design 5 (2) 2011, 53-60. Co-design workshops bring users, customers, stakeholders and designers together to rapidly critique and iterate on design concepts, ensuring that their needs remain at the centre of the design process. Co-design and similar methodologies, such as participatory design, involve the users and other stakeholders participating actively, building on concepts they are presented with (be it a current user experience or a new design concept) and informing the future direction of the design. The principle of co-design is to “design with” rather than “designing for” people. Users and other stakeholders are in an active role, contributing to the design, rather than passively responding to design decisions. Co-design workshops build on this principle and include a preparation phase, recruitment phase, the workshop itself, interpretation and action. The first phase, preparation, is used to determine the overall direction for the workshop. This can involve the development of an initial concept that users can respond to, for example, in the form of a low- fidelity prototype (p.X) or storyboard (p.X). During the workshop, participants are taken through the stages of immersion, talking about current experiences, ideal experiences, and finally, evaluating and iterating the initial concept. Comments from participants along with any artefacts that were co-designed during the workshop are then analysed and fed back into the design process. Co-design workshops can be employed at any stage of the design process. During the research phase, they can be used to inform a complete view of people’s circumstances and situations. For projects that focus on the re-design of an existing product or service, this includes developing an understanding of how people currently make use of the product or service. During the prototyping phase, co-design workshops can be used to rapidly iterate concepts. Co-Design Workshops Designing with your participants 1 4 5 6 3 2 38 39 Design. Think. Make. Break. Repeat. Co-Design Workshop ACADEMIC RESOURCES: Goodman, E., Kuniavsky, M., & Moed, A. (2012). Chapter 9. Field Visits: Learning from Observation. In Observing the User Experience: A Practitioner’s Guide to User Research (pp.211-238). MA, USA: Elsevier. How to Conduct User Observations. (2017, February 4). The Interaction Design Foundation. Retrieved from https://www.interaction- design.org/literature/article/ how-to-conduct-user- observations Contextual observation can be used to study people’s behaviour in different environments, such as workplaces, their homes, public spaces, and so on. Experiences in real life don’t happen in a vacuum, and contextual observation takes into account the range of external factors that can influence people’s behaviour, such as environmental, temporal and social factors. Data collected through contextual observation includes user’s actions, physical posture, changes in facial expressions and gaze, and gestures in relation to a specific task, component or aspect of a product or service. Analysing these data can then reveal aspects of behaviours, workflows, and existing products or services. In contextual observation, data is mainly limited to people’s behaviour that is visually accessible, such as their reactions to input from the surrounding built or ambient environment, social interactions, and so on. These factors and the natural relationship between the user and the context would not be accounted for in observation carried out in the controlled environment of a lab. Contextual observation can be used for developing a better understanding of a design problem or context, as well as for gathering feedback about a prototype design. In the latter case, it provides a more natural alternative to usability testing (p.X), which is typically conducted in a structured lab environment. To ensure that the observation reveals useful data, some preparation is required. Most importantly, the objective of the observation has to be defined before the observation takes place. Other aspects to plan and consider include audience, location, time of the day, and day of the week. Contextual Observation Observing how people act in the wild 42 Contextual Observation ACADEMIC RESOURCES: Madsen, K. H. (1994). A guide to metaphorical design. Communications of the ACM, 37(12), 57-62. Hey, J., Linsey, J., Agogino, A. M., & Wood, K. L. (2008). Analogies and metaphors in creative design. International Journal of Engineering Education, 24(2), 283-294. Schön, D. (1979). Generative Metaphor: A Perspective on Problem-setting in Social Policy. In A. Ortony (Ed.) Metaphor and Thought (pp. 254-283). Cambridge: Cambridge University Press. In linguistics, metaphors are “A figure of speech in which a word or phrase is applied to an object or action to which it is not literally applicable” (Oxford Dictionary). In design, metaphors are used to refer to familiar precedents from the world around us. The metaphor assists the transfer of what we know in one domain (the source) into another different domain (the target). The desktop metaphor used in the graphical user interface of personal computers is a classic example of using a metaphor to aid conceptual understanding of interactions. Applying metaphors from an o ce environment allows people to easily learn how to perform interactions within a graphical user interface. Like on a physical desk, files are located inside folders. Unwanted files are dragged into a rubbish bin. Applying different metaphors during the conceptual design phase can reveal a variety of design solutions. For example, the metaphor of “computers as humans” leads to dialogue-based forms of interaction, whereas the metaphor of “computers as tools” leads to direct manipulation-based forms of interaction. Designs that are modelled on nature are also referred to as biomimicry. Far-fetched analogies can be used to spark ideas. Metaphors can also be used to generate new perspectives on a problem by seeing something as something else (Schön, 1979). Metaphors can be applied in design to explore the problem domain from unusual and competing perspectives, and to reveal the hidden dimensions of a problem to be solved (Madsen, 1994). By applying a series of strategic questions, it is possible to unpack the metaphor and discover new understandings of and potential solutions to the problem at hand. Design by Metaphor The power of seeing something as something else 48 Design by Metaphor Empathic Modelling Putting yourself in someone
  15. designthinkmakebreakrepeat.com Notes sheet xx Notes sheet Whys oblem: Why.... Why....

    Why.... Why.... Why.... k is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License. d by the authors of “Design. Think. Make. Break. Repeat. A Handbook of Methods” (BIS Publishers) signthinkmakebreakrepeat.com Resources Bodystorming “Freeze” and “What-if” triggers Whenever the bodystorm is slowing down or inspiration starts to run low, consider changing the circumstances with one of the following triggers. To use these triggers one of the observers shouts freeze, and then adds a new detail/perspective/constraint/situation, introduced with the phrase “What if…” For example: “What if there was only one chair in the room?”. Add more detail to the characters … • Physical condition of the person • Mental/emotional state of the person • Their back-story • Who is accompanying them? Change the perspective … • Change character (young child, disabled person) • Change attitude or emotion • Act out what goes on inside a device or service Change situation … • Conflict situation • Supportive situation Add constraints … • Only one chair in the room • Electricity outage • Water costs a lot Notes sheet Brainwriting 6-3-5 Question/problem: Idea 1 Idea 2 Idea 3 Round 1 Round 2 Round 3 Round 4 Round 5 Round 6 This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License. Designed by the authors of “Design. Think. Make. Break. Repeat. A Handbook of Methods” (BIS Publishers) www.designthinkmakebreakrepeat.com Business Model Experimentation Shopping experience of the future Digi Shop: Complete online store- automated shopping experience. Customer-led template focus explores the diverse possibilities that lie within new and untouched customer segments. Customer Segments: Digital natives but customer experience conscious Value proposition: Low cost provider, but excel in customer experience Channels: One direct online, 24/7 messaging, ordering and account management channel Customer Relationships: Personalised, direct Revenue Streams: Product sales Cost Structure: Higher core costs personnel, reduction of asset costs Key Activities: Training of staff, online presence Key Resources: personnel, technology Key Partners: Suppliers. Cost-driven template focus looks at ways of reducing expenses in order to find opportunities elsewhere. Cost Structure: Cheaper, lean, low capital costs, low ongoing costs Value proposition: Low cost provider, only pay for what they use Channels: Online only, limited customer support Customer Relationships: Quick and accessible at all times Customer Segments: Digital natives but cost conscious Revenue Streams: Product sales, online advertisements Key Activities: Online presence, sales and marketing Key Resources: Personnel, physical real estate for warehouse, technology Key Partners: Suppliers, delivery companies Partnership-led focus is the exploration of new resources and capabilities from external partnerships. Key Partners: Partner with car-riding and sharing services such as Uber, Lyft, Car next door Value proposition: Save money and time shopping and traveling Channels: All online, use of website and mobile applications Notes shee Key Partners Key Activities Value Propositions Customer Relationships Customer Segments Key Resources Channels Cost Structure Revenue Streams Based on the original Business Model Canvas by Strategyzer AG: strategyzer.com Business Model Canvas
  16. The idea of placing people at the centre of the

    design process emerged in response to the pace of technological development towards the end of the 20th century. At this time, the array of digital solutions for everyday problems grew rapidly, spurred by the mass adoption of personal computers, the declining cost of electronics, and advances in information and communication technologies. However, the new products and services that emerged were often difficult and frustrating to use. Human-centred design arose as a sorely needed reaction to a tech industry that was in denial (Cooper, 2000); it placed people firmly at the centre of the design process using an array of new methods. Over time, the field of human-centred design perfected the art of creating products and services that satisfy people’s needs. But while striving to tackle immediate problems, we sometimes lost sight of the bigger picture and now face the unintended downstream consequences of our design decisions. In the past decades, design has mostly been used as a tool of the market to achieve short-term gains for businesses and investors. This focus has diminished the potential of design as a tool that enables deep exploration of decisions before they are made (Dunne & Raby, 2013). Focusing on short-term gains carries the risk that our design decisions are to the detriment of future generations and the health of our planet. In order to shift our frame of thinking and plan for a better future for the next generation, we can use the notion of ‘cathedral thinking’ (Rogers, 1995). This concept reminds us that mediaeval architects drafting the initial blueprints for a cathedral did so knowing that they would not be alive by the time it was completed. Cathedral thinking encourages us to extend our perspectives beyond people’s needs right at this moment and to focus on intergenerational considerations instead. Using the lens of long-term cathedral thinking, it becomes apparent how much we have sacrificed on the altar of short-term gains. While technological advancement has brought us longer lives, over time it has degraded the environment with which our own wellbeing is so closely intertwined. The motorisation of cities has led to air pollution, which now poses one of the greatest health risks (Head, 2011). Modern urban planning initiatives driven by technological innovation in the late 19th century have enabled the construction of motorways, reducing habitats for people and wildlife (Johnson, 2011). There is a risk that the application of human-centred approaches to solving these problems will lead to equally anthropocentric solutions. That is, solutions that may benefit people in the short-term while failing to consider the long-term impact on society and ecological systems. As the description of Mike Monteiro’s book Ruined by Design states, ‘The world is working exactly as designed. And it’s not working very well. Which means we need to do a better job of designing it.’ (Monteiro, 2019). Just 20 years after the dawn of a millennium that was full of promise, we find ourselves in an untenable situation; facing natural disasters, an ongoing refugee crisis and a global pandemic. This is by no means a new concern. For example, Victor Papanek, in his 1972 book, wrote ‘There are professions more harmful than industrial design, but only a very 14 Life-centred Design By Madeleine Borthwick and Martin Tomitsch Introduction few of them.’ (Papanek, 1972, p.ix). As we extend our ways of thinking and working to consider all elements of human and non-human life, we need to build on this previously developed knowledge across fields. More than ever, we need to collaborate across disciplines to develop a collective understanding, where the whole is greater than the sum of its parts. Some of the methods in this book explicitly invite the involvement of experts in design workshops, for example, using STEP cards (p.XX). Collaboration has emerged as another theme, with methods such as design team cards (p.XX) and values cartouche (p.XX) to assist interdisciplinary teams with working together. This book builds on the paradigm of human-centred design but encourages us to think about the wider impact of our designs. It puts forward a selection of methods that help to provide an antidote to short-term and anthropocentric thinking. To that end, the methods go beyond previous notions of sustainable design or ecodesign, which focus on finding more sustainable ways of creating products and services. Instead, this book contributes to the emerging field of post-anthropocentric design by decentering the human from the design process (Forlano, 2016). Offering concrete, structured step-by-step guides, the methods allow us to consider the viewpoints of all living things through using non-human personas (p.XX), to speculate about utopian and dystopian futures (p.XX), to make long-term decisions using scenario-based thinking (p.XX), to consider the far-reaching consequences of our actions with the impact ripple canvas (p.XX) and to use backcasting (p.XX) to develop a roadmap to a better future. Collectively, these methods point towards a new role of design, a fifth level, where design is used as a framework for strategic action. Building on the previous levels outlined in Figure 1, strategic design suggests a role for design in understanding the complex connections and networks of systems, and their impact on human health, planetary health, sustainability and issues of security. To create innovative solutions within the framework of life-centred design, we need to consider not only the feasibility, viability and desirability of future designs but also to understand our responsibility as designers. This includes analysing and reflecting on the environmental and ethical values of our designs. Life- centred design encourages us to draw on intergenerational knowledge, to assess the long-term impact of our design solutions and to consider the perspectives of all living things in the design process. Figure 3: Life-centred design expands the human-centred focus of a design process (as originally published by IDEO) by adding considerations about what is environmentally and ethically responsible. REFERENCES: Cooper, A. (1999). The inmates are running the asylum. Indianapolis, IA: SAMS. Macmillan. Dunne, A., & Raby, F. (2013). Speculative everything: design, fiction, and social dreaming. MIT Press. Forlano, L. (2016). Decentering the Human in the Design of Collaborative Cities. Design Issues, 32(3), MIT Press, 42–54. Head, P. (2011). Healthy cities in an ecological age. World Health Design, 4(3), 10–14. https:// www.designandhealth.org/ resource_library/healthy-city- design-july-2011/ Johnson, M. (2011). Life- changing regeneration. World Health Design, 4(3), 15–19. https://www.designandhealth. org/resource_library/healthy- city-design-july-2011/ Monteiro, M. (2019). Ruined by Design: How Designers Destroyed the World, and What We Can Do to Fix It. Independently Published. Papanek, V. (1984). Design for the Real world. Thames & Hudson. UK Rogers, J. E. (1995). Environmental leadership in a boundary‐less world. Environmental Quality Management, 4(2), John Wiley & Sons, Inc. 15 Design. Think. Make. Break. Repeat.
  17. Type/species: Age/life span: Local population: Needs/motivation: Challenges/stressors: Interacts with the

    following: Habitat: Descriptive narrative of behaviour for one [hour/day/month/year] select one: Structure guide Non-human Personas Name: miro.com/app/board/o9J_l2wNzU8=/ Edition Design. Think. Make. Break. Repeat. A Handbook of Methods Design. Think. Make. Break. Repeat. A Handbook of Methods “Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis” - Quote author This book introduces the reader to the changing role of design as a way of thinking and a framework for solving complex problems and achieving systemic change. It documents 80 methods that cover all stages of a design process, providing actionable guidance for applying the methods across a range of projects. The methods are complemented by seven case studies to demonstrate their application in different domains, from designing interfaces for autonomous vehicles to addressing health and wellbeing. Free templates and resources, available at designthinkmakebreakrepeat.com, make this a great resource for design educators as well as practitioners leading workshops in their organisation or looking for inspiration to transform their practice. In this revised edition, the authors look beyond the human-centred design paradigm and provide an introduction to life-centred design. This extended focus is reinforced through design methods for considering the broader ecosystem in which products and services are used, including the use of natural resources, ethical concerns and the long-term impact of design decisions. Design. Think. Make. Break. Repeat. A Handbook of Methods Authors Martin Tomitsch (ed.) Madeleine Borthwick (ed.) Naseem Ahmadpour Clare Cooper Jessica Frawley Leigh-Anne Hepburn A. Baki Kocaballi Lian Loke Claudia Nunez-Pacheco Karla Straker Cara Wrigley 9 789063 695859 ISBN 978-90-636958-5-9 Revised: 20 new methods and an introduction to life-centred design
  18. Type/species: Brush-tailed possum Age/Lifespan: 13 Years Local Population: Estimated 30

    million in Australia Needs/motivations: It’s getting harder for Beans to find a home to rest, and sources of food are being slowly replaced by a concrete landscape. Challenges/stressors: Sometimes Beans is captured by humans and is transported to a location away from where he usually scavenges for food and resides. Being held in an enclosure while Beans is transported and being displaced causes great stress to him. Most of the time, Beans can find food he is familiar with, consuming flora and insects located in gardens and trees around his local area. Occasionally Beans encounters human food and eats it without knowing it may not be healthy for him; sometimes it makes him sick afterwards. Interacts with the following: Other possums, humans and native flora Habitat: Beans usually prefers a place high above the ground away from other species that might harm him. The current alternative to a tree to call home is finding small openings into the rooftops of human structures, where he can shelter. Beans does his best to stay out the way of other possums to avoid confrontation, as they are very territorial. Descriptive narrative of behaviour: Beans is most active at night under the cover of darkness, searching for food. This nightly activity disrupts sleeping humans and this causes them to attempt to scare beans out of their roof or garden. Persona (1) Non-human Personas Name: Beans designthinkmakebreakrepeat.com miro.com/app/board/o9J_l2wNzU8=/ Edition Design. Think. Make. Break. Repeat. A Handbook of Methods Design. Think. Make. Break. Repeat. A Handbook of Methods “Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis” - Quote author This book introduces the reader to the changing role of design as a way of thinking and a framework for solving complex problems and achieving systemic change. It documents 80 methods that cover all stages of a design process, providing actionable guidance for applying the methods across a range of projects. The methods are complemented by seven case studies to demonstrate their application in different domains, from designing interfaces for autonomous vehicles to addressing health and wellbeing. Free templates and resources, available at designthinkmakebreakrepeat.com, make this a great resource for design educators as well as practitioners leading workshops in their organisation or looking for inspiration to transform their practice. In this revised edition, the authors look beyond the human-centred design paradigm and provide an introduction to life-centred design. This extended focus is reinforced through design methods for considering the broader ecosystem in which products and services are used, including the use of natural resources, ethical concerns and the long-term impact of design decisions. Design. Think. Make. Break. Repeat. A Handbook of Methods Authors Martin Tomitsch (ed.) Madeleine Borthwick (ed.) Naseem Ahmadpour Clare Cooper Jessica Frawley Leigh-Anne Hepburn A. Baki Kocaballi Lian Loke Claudia Nunez-Pacheco Karla Straker Cara Wrigley 9 789063 695859 ISBN 978-90-636958-5-9 Revised: 20 new methods and an introduction to life-centred design
  19. Source: Tomitsch, M., Fredericks, J., Frawley, J. & Foth, M.

    Non-human Personas: Including Nature in the Participatory Design of Smart Cities (under review)
  20. Top- down bodies Bottom- up bodies Coalition Data centres Video

    streaming 
 app Ecosystem Non- human persona Top dow bodi Botto up bodi Coali Non huma perso
  21. [1] Frawley, J. K., & Dyson, L. E. (2014, December).

    Animal personas: acknowledging non-human stakeholders in designing for sustainable food systems. In Proceedings of the 26th Australian Computer-Human Interaction Conference on Designing Futures: The Future of Design (pp. 21-30). [2] Sznel, M. (2020). Your next persona will be non-human — tools for environment-centered designers, Medium, available at: https://uxdesign.cc/ your-next-persona-will-be-non-human-tools-for-environment-centered-designers-c7ff96dc2b17 [3] Tomlinson, B., Nardi, B., Stokols, D., & Raturi, A. (2021). Ecosystemas: Representing Ecosystem Impacts in Design. In Extended Abstracts of the 2021 CHI Conference on Human Factors in Computing Systems (pp. 1-10). “Your next persona will be non-human — tools for environment-centered designers” [2] CHI ’21 Extended Abstracts, May 8–13, 2021, Yokohama, Japan Tomlinson et al. Figure 1: An ecosystema for the Amazon rainforest. for a broader conceptualization of environmental “users” - includ- ing, for example, residents geographically removed from the direct impacts of a particular building or other designed structure, whose health may be impacted by the carbon emissions or air pollution emitted at the site of origin due to atmospheric or marine trans- port of carbon and pollutants emitted at one site to more distant “telecoupled” regions [88]. (See also [58, 59] for further articula- tions of telecoupling and systems integration.) The “deep ecology” movement embraces the principle of “biocentrism” or “biocentric egalitarianism” (vs. anthropocentrism) and is premised on the idea that humans must be decentered, or relegated to a less powerful and preeminent role in ecosystems, if those systems and the di- verse species that comprise them are to survive and thrive (see for example [24, 61, 64]). As Stokols has written: “[a]nthropocentrism prioritizes human needs over those of other species...Deep ecol- ogists believe that biospheric harmony can be regained only if people reject their anthropocentric biases and embrace biocentric egalitarianism. Biocentrism holds that all life forms have an ‘equal right to live and blossom’ ([64], p.96).” ([88], p.267) Social ecologist Murray Bookchin has written about the evolution from biological and societal nature to “thinking nature” in which humans’ reason- ing capacities would be applied to ecosystem design in ways that promote more equitable relationships between humans and other species [10, 11]. The ecosystema concept builds on these ideas and broadens this perspective to include the interests and rights of nonhuman species and ecosystems in design processes. Relationships between humans and nonhumans have been stud- ied within design and computing as well. Most similar to the work described here is the concept of “animal personas” [33]. These ani- mal personas have been proposed to account for species-speci￿c considerations in the design of online systems used in animal agri- culture, such as farming chickens. Similarly, “canine personas” have been put forth in the emerging area of Animal Computer Interac- tion, where technologies, such as digital emergency alarms, are designed speci￿cally to be used by animals [86]. Raturi proposed the need for “system personas” [81]—a design concept that repre- sents the system that the human is interacting with rather than the human themselves, and instantiated these as “farm personas” used in the design of digital technologies for sustainable agriculture. In the case of farm personas, the farms were detailed constructions of ￿ctitious yet archetypal farms based on interviews with farmers and visits to small- to medium scale farms in California. Raturi demonstrated how such an approach can be used to develop sys- tem archetypes grounded in a critical analysis of real systems, and subsequently used in information design. Beyond the connection to personas, other scholars have also engaged with nonhumans in design. DiSalvo and Lukens engaged with the role of nonhumans in design, providing an introduction to “Ecosystemas: Representing Ecosystem Impacts in Design” [3] distinguish business. In ve tools and tandings of gn process. ersona was nline recipe ions. ng in urban agriculture case study wider study on way for uce and for hat to eat”. ns through and eating. pt that used he farming to represent not present n interviews and urban ary to create y was the ooper, 2004 1.). Though the form of yers on the lour that are representation of the animal and provided a means of thinking of this stakeholder throughout the design process most notably during early paper prototyping. Name: Betsy Age: 12 months Breed: ISA Brown Lives: In a mobile hen house in the New South Wales’ Southern Highlands, Australia. Betsy started laying eggs at about 6months of age and is working at laying 1 egg a day, although on a good day she’ll sometimes lay two. She wakes up at dawn and takes herself to bed at dusk. In the mobile hen house there are 300 other ISA Browns all of whom lay eggs, and scratch around the field during the day. She has a curious disposition and if doors are left open she’ll go in and explore. She once got into the farmhouse. To allow her to move around safely the farm has several large Maremma dogs- that are trained to guard her and the other girls. Though as a pullet she found the dogs scary she is now used to their presence on the farm. She likes green vegetables and has several times broken into the vegetable patch when the electric fence was turned off. She enjoys being around the human farmers and doesn’t mind being picked up- in fact there is a spot under her chin that she quite likes having stroked. However she is soon eager to be back on the ground with the other chickens, eating, pecking and taking dust baths in the dirt under the trees. Table 1. Persona description. 27 “Animal Personas: Acknowledging non- human stakeholders in designing for sustainable food systems” [1]
  22. Life is not a human-centred affair but a complex network.

    
 —Stefano Mancuso “ Source: At A Distance podcast Image Source: Markus Spiske via Unsplash
  23. Video featuring: Professor Steve Simpson, Director of the Charles Perkins

    Centre; 
 recorded for OLET5702 Complex Problem-Solving coordinated by A/Professor Maryanne Large Systems maps in Health
  24. Source: Tomitsch et al. (2021). Design Think Make Break Repeat.

    BIS Publishers Image: Luca Iaconelli via Unsplash … think beyond what we are trained and used to seeing by visualising unexpected connections.
  25. ACTION DIRECT IMPACT INDIRECT IMPACT BIG PICTURE IMPACT Canvas Impact

    Ripple Canvas miro.com/app/board/o9J_l21H21U=/ Based on the original canvas created by: Dr Manuela Taboada & 
 Dr Md Shahiduzzaman for the QUT Chair in Digital Economy, June 2019 Edition Design. Think. Make. Break. Repeat. A Handbook of Methods Design. Think. Make. Break. Repeat. A Handbook of Methods “Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis” - Quote author This book introduces the reader to the changing role of design as a way of thinking and a framework for solving complex problems and achieving systemic change. It documents 80 methods that cover all stages of a design process, providing actionable guidance for applying the methods across a range of projects. The methods are complemented by seven case studies to demonstrate their application in different domains, from designing interfaces for autonomous vehicles to addressing health and wellbeing. Free templates and resources, available at designthinkmakebreakrepeat.com, make this a great resource for design educators as well as practitioners leading workshops in their organisation or looking for inspiration to transform their practice. In this revised edition, the authors look beyond the human-centred design paradigm and provide an introduction to life-centred design. This extended focus is reinforced through design methods for considering the broader ecosystem in which products and services are used, including the use of natural resources, ethical concerns and the long-term impact of design decisions. Design. Think. Make. Break. Repeat. A Handbook of Methods Authors Martin Tomitsch (ed.) Madeleine Borthwick (ed.) Naseem Ahmadpour Clare Cooper Jessica Frawley Leigh-Anne Hepburn A. Baki Kocaballi Lian Loke Claudia Nunez-Pacheco Karla Straker Cara Wrigley 9 789063 695859 ISBN 978-90-636958-5-9 Revised: 20 new methods and an introduction to life-centred design
  26. Created by: Dr Manuela Taboada & Dr Md Shahiduzzaman for

    the Chair in Digital Economy, June 2019 ACTION DIRECT IMPACT INDIRECT IMPACT BIG PICTURE IMPACT miro.com/app/board/o9J_l21H21U=/ Edition Design. Think. Make. Break. Repeat. A Handbook of Methods Design. Think. Make. Break. Repeat. A Handbook of Methods “Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis” - Quote author This book introduces the reader to the changing role of design as a way of thinking and a framework for solving complex problems and achieving systemic change. It documents 80 methods that cover all stages of a design process, providing actionable guidance for applying the methods across a range of projects. The methods are complemented by seven case studies to demonstrate their application in different domains, from designing interfaces for autonomous vehicles to addressing health and wellbeing. Free templates and resources, available at designthinkmakebreakrepeat.com, make this a great resource for design educators as well as practitioners leading workshops in their organisation or looking for inspiration to transform their practice. In this revised edition, the authors look beyond the human-centred design paradigm and provide an introduction to life-centred design. This extended focus is reinforced through design methods for considering the broader ecosystem in which products and services are used, including the use of natural resources, ethical concerns and the long-term impact of design decisions. Design. Think. Make. Break. Repeat. A Handbook of Methods Authors Martin Tomitsch (ed.) Madeleine Borthwick (ed.) Naseem Ahmadpour Clare Cooper Jessica Frawley Leigh-Anne Hepburn A. Baki Kocaballi Lian Loke Claudia Nunez-Pacheco Karla Straker Cara Wrigley 9 789063 695859 ISBN 978-90-636958-5-9 Revised: 20 new methods and an introduction to life-centred design
  27. Stakeholders are demanding account- ability to address negative impacts. “

    Source: https://www.bcg.com/publications/2021/keys-to-being-a-leader-in-sustainable-business-model-innovation
  28. Stakeholder expectations from all sides are demanding accountability to address

    negative impacts and increasingly demanding that companies go beyond mitigation and demonstrate positive environmental and societal benefits. “ Source: https://www.bcg.com/publications/2021/keys-to-being-a-leader-in-sustainable-business-model-innovation
  29. Primary stakeholders (users) UX Secondary stakeholders Non-human stakeholders Beyond-human design

    Ecosystem design Earth-centred design Life-centred design More-than-human design
  30. Primary stakeholders (users) 360-degree UX Secondary stakeholders Non-human stakeholders Beyond-human

    design Ecosystem design Earth-centred design Life-centred design More-than-human design
  31. Primary stakeholders (users) 360-degree UX Secondary stakeholders Non-human stakeholders Non-human

    personas Systems maps Impact ripple canvas Beyond-human design Ecosystem design Earth-centred design Life-centred design More-than-human design
  32. Martin Tomitsch [email protected] www.linkedin.com/in/martintomitsch/ Instagram @martintomitsch Twitter @martintom Thanks/ inspiration

    Madeleine Borthwick Glenda Caldwell Anthony Capon Marcus Foth Jessica Frawley Joel Fredericks Melinda Gaughwin Maryanne Large Manuela Taboada Dan Vo At A Distance podcast Ruined by Design Design Lab School of Architecture, Design and Planning The University of Sydney design.sydney.edu.au Edition Design. Think. Make. Break. Repeat. A Handbook of Methods Design. Think. Make. Break. Repeat. A Handbook of Methods “Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis” - Quote author This book introduces the reader to the changing role of design as a way of thinking and a framework for solving complex problems and achieving systemic change. It documents 80 methods that cover all stages of a design process, providing actionable guidance for applying the methods across a range of projects. The methods are complemented by seven case studies to demonstrate their application in different domains, from designing interfaces for autonomous vehicles to addressing health and wellbeing. Free templates and resources, available at designthinkmakebreakrepeat.com, make this a great resource for design educators as well as practitioners leading workshops in their organisation or looking for inspiration to transform their practice. In this revised edition, the authors look beyond the human-centred design paradigm and provide an introduction to life-centred design. This extended focus is reinforced through design methods for considering the broader ecosystem in which products and services are used, including the use of natural resources, ethical concerns and the long-term impact of design decisions. Design. Think. Make. Break. Repeat. A Handbook of Methods Authors Martin Tomitsch (ed.) Madeleine Borthwick (ed.) Naseem Ahmadpour Clare Cooper Jessica Frawley Leigh-Anne Hepburn A. Baki Kocaballi Lian Loke Claudia Nunez-Pacheco Karla Straker Cara Wrigley 9 789063 695859 ISBN 978-90-636958-5-9 Revised: 20 new methods and an introduction to life-centred design designthinkmakebreakrepeat.com